Out on an auto-Bezier key leaves its in side playing the same values,
and undo and redo restore each state. On a curved Position path with
unequal segment lengths and durations, In sets the key's speed from the
incoming path length, playback arrives faster than a constant speed, and
the out side plays as before.
A roving key passes speed straight through: the engine keeps both its
sides linear whenever the keys are edited (retime_roving), so an ease set
on one never plays. The panel still counted it as eased, so a selected
roving key showed "Eased 1 keyframe(s)" and stayed linear. The previous
pair-only panel did the same to a pair holding a roving key.
Selected roving keys are now left out of the work and counted. The
status names how many were skipped and that turning off Roving lets them
ease; when nothing else was selected, nothing changes and no undo step
opens. Fixed keys next to a roving key still ease.
Guide layers render only in their own comp's viewer: a nested renderer (precomp, collapsed
precomp in 2D, Classic 3D and Advanced 3D, comps read by effects, aux passes, the GPU walk's
resident precomps) now runs with guides off (Renderer::nested_opts), so a precomp's guide
layers no longer show in the parent comp's viewer or in a "Current Settings" render.
The Timeline layer and Composition viewer right-click menus (shared layer_menu) gain a
Guide Layer item (a plain toggle, no check mark) acting on the selection, and guide layers show a guide mark
before their name in the Timeline.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In After Effects solo is not time-dependent: while any AV layer is soloed,
non-soloed layers are excluded at every time. The renderer, nested/collapsed
3D paths, engine viewer helpers and viewer hit tests only counted solo layers
active at the current time, so outside the soloed layer's in-out range the
whole comp reappeared. Drop the time condition (audio already ignored it).
Update the #66 viewer regression test to the AE behaviour and add a render
test for it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
One middle key between unequal segments in each mode, with its
neighbours, times, values and selection unchanged and one undo restoring
it; first and last keys, keys that aren't neighbours and keys of several
properties; no undo step when nothing can ease; a Hold and an
auto-Bezier side kept as they play; per-dimension and motion-path
speeds on Scale and Position; and the pair's outer sides under In-Out
and Out. All but the unchanged API tests fail on main.
The panel eased only pairs of neighbouring selected keyframes, so a single
selected key (or keys that aren't neighbours) changed nothing.
An Ease selector (In, Out, In-Out; In-Out by default) now chooses the
sides of each selected key to ease. In eases a key's incoming side with
the curve's in side, Out its outgoing side with the curve's out side. A
side is eased when it has a neighbouring key, selected or not; the
neighbour is left as it is. Each side's speeds scale to the segment on
that side, so a key between a +100/s and a -40/s segment gets each its
own. The side not eased keeps playing as it did (easeSide, unchanged).
Sides are measured before any key changes, and no undo step opens when
no selected key has a segment on the chosen side; the status says which
neighbour is missing. A selected pair in In-Out still gets the whole
curve; its outer sides now ease too when they face an unselected key.
From Keys still reads the curve of a selected pair.
Every layer gets the Video switch (eye) in the Timeline (nulls, cameras and lights
were excluded by an is_av() check). A selected layer whose eye is off no longer
draws its box, handles, anchor or paths in the viewer. Alt-click on an eye and
Layer > Switches > Hide Other Video now take nulls along.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Alt-clicking a stopwatch added an expression, but its editor needed
another click before typing went into it. In After Effects the new
expression's field takes the keyboard at once, its text selected.
The pick whip's one-shot refocus (the editor takes the keyboard back
after a reference goes in) is now an ExprFocus request for any
property: which text to select, counted from the end, and the pass it
was asked for in. An Alt-click that adds an expression asks for it with
the whole text selected, so typing replaces it; the expression row is
opened if it was closed and scrolled into view (it is added below the
stopwatch's row, which can be the last one shown). The request is taken
once, when the editor is drawn, and dropped if its expression doesn't
appear or it isn't taken within a few passes, so it never takes the
keyboard later; an Alt-click that removes the expression clears it.
Tests (ui_inline_edit): typing straight after the Alt-click replaces
the new expression; a field clicked right after keeps the keyboard;
after removing it nothing has the keyboard; an expression added at the
Timeline's bottom brings its editor into view with the keyboard. Both
fail on main.
With Separate Dimensions, X Position and Y Position are separate scalar
properties. The new test puts an expression on X Position only and checks,
in the Timeline and Properties panel and in both themes, that X is red and
Y keeps the ordinary colour. It fails on main.
Round nonzero duration frame counts away from zero while retaining
absolute-time rounding, default argument selection and numeric coercion.
Cover fractional durations, absolute controls, defaults and coercion.
Sort expected paths in the existing footage test for temporary-directory portability.
Co-authored-by: Codex <codex@openai.com>
pixel_form_with borrowed the comp unchanged when it held only comp markers and no layer
markers, so a lone plain comp marker still reached the disk key. Tests: a lone comp marker
keeps the key; a protected marker with a duration (and its duration) on a stretched precomp's
source changes the key of the comp that nests it.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Preset rows (text, built-in and user .ecpreset) were click-only, so dragging
one onto a layer did nothing. They now start a DragPayload::Preset drag with
a ghost, and the Timeline, Composition viewer and Effect Controls apply the
preset to the layer it is dropped on, as they already do for effects and as
After Effects does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A path's vertices and its two tangent arrays deserialize independently,
and nothing on load makes them agree. mask.new pads them, but a path
read from a project file may carry fewer tangents than vertices.
mask.addVertex checked its index against the vertices only and then
inserted into both tangent arrays, and mask.setVertex indexed the
tangent arrays after the same check, so either command panicked on
such a path (Vec insert/index out of bounds).
ShapePath::fit_tangents gives both arrays one entry per vertex (missing
tangents become corners, extras are dropped), and edit_path_counted
calls it on the value it edits, so every mask/shape-path vertex command
works on a consistent path. Other keyframes of an animated path were
already padded by apply_count_op when the vertex count changes.
Tests: two regression tests save a project, cut every mask path's
tangent arrays to one entry (static value and keyframes), reopen it
through Project::from_json and run setVertex and addVertex. Both panic
at mask.rs:209 without the fix.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Each checked property now names the panels that must show it: the layer's
Position, Rotation and Opacity in the Timeline and Properties panel, the
Transform effect's in Effect Controls. Every component rectangle is
required, and the painted text must include both numbers of a vector (and
the Timeline's comma), the revolutions, sign and degrees of an angle, and
the number of a scalar. These presence checks run in both themes and after
every expression state change.
Hover now covers all three panels in dark and light themes, and a new test
scrubs Opacity in the Timeline and Effect Controls, confirming a drag is
active before checking the colour. All four tests fail on main.
A property driven by an expression showed its value in the ordinary blue;
After Effects shows it red (refs #1072). Tokens::for_value(expression)
gives the value fields the expression colour (expr_text, dark and light)
for both hot_text and accent_hover, so a hovered or dragged value stays
red. The Timeline's value_editor, Effect Controls' parameter rows and the
Properties panel's transform rows pass these value tokens to their
number and angle fields (and the Timeline's vector separator and plain
enum number), from Property::has_expression() every frame: a disabled,
removed or empty expression is blue again. Names, stopwatches, keyframe
buttons, link icons and dropdowns keep the ordinary tokens. Red means an
expression drives the value, not that it evaluated; errors keep their
own reporting.
Tests (ui_expression_values, reading the painted text colour): a vector
(Position, with its separator), an angle (Rotation, both parts) and a
scalar (Opacity), on the layer and on the Transform effect, are red in
all three panels, in dark and light themes, and Scale (no expression)
stays blue; disabled, removed and whitespace-only expressions are blue
and enabling again is red; a hovered expression value stays red while a
hovered ordinary one takes the hover accent. All three fail without this
change. ui_effect_controls and ui_inline_edit still pass.
The Track Matte menu and pick whip applied to every selected layer,
nulls, cameras and lights included, though their rows have no Track
Matte. A mode chosen for selected solids then went to a selected null
too: at the top of the comp it had no layer above to take as its matte
and the whole change was refused; at the bottom it took the layer above
as its matte and hid it.
Track Matte edits now go to the selected layers that can have a matte
(matte_layers); parenting still includes nulls, cameras and lights.
Tests (ui_batch_links): a selected null on top or at the bottom gets no
matte and changes nothing else; a layer locked with its Lock switch
stays selected and keeps its parent, transform and matte through the
other row's menus and pick whips. Both fail before.
With several layers set at once from one selected row, a selected
layer locked after it was selected (its Lock switch doesn't deselect
it) had its parent, its compensated transform or its matte changed too.
layer.setParent, layer.setTrackMatte and layer.trackMatte now leave
locked layers as they are, the rule the other layer edits follow
(unlocked): among several, the others change; alone, it is an error
that changes nothing. Done in the engine, a layer locked while a pick
whip is being dragged is covered too.
Test: locked_layers_keep_their_parent_and_matte.
Expansion was a fill plus a stroke 2·|expansion| wide, blended per pixel. Once the
expansion passed the shape's curvature radius the stroke's inner edge inverted: a
20 px circle expanded by 60 left a ring with the layer showing through the middle,
+600 cut only the original dot, and negative values left islands. The outline is
now offset with Offset Paths' geometry (round joins) and filled.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Liquify shows Distortion ▸ Offset (x, y), and the renderer
already applied distortionMeshOffset — sampling the mesh at layer
coordinates minus the offset — but the parameter was declared hidden, so
users could neither see nor edit it, and #1194 read as 'the effect does
not work and the Offset option is missing'.
It is now a visible 2D Point control (still defaulting to 0,0, still
scriptable by its old path). Regression test: the spec exposes it as a
Point, a [20,0] offset moves the displaced-region centroid right by the
offset (the render differs, and the left of the shifted mesh is back to
untouched pixels), docs/effects.md refreshed via UPDATE_DOCS.
The reported flow — launch to the start screen, Open Demo Project, press
Space — does not reproduce on main: the demo comp activates, the start
screen closes, and playback starts. The behaviour already held (the
#279 menu-focus and #204 start-screen work fixed the neighbouring bugs),
so this lands as a regression test:
space_previews_after_opening_the_demo_from_home walks the exact flow
headlessly and asserts playing=true.
cargo test -p effectcraft-ui-egui --test ui_menus: 8 passed.
Looped *video* footage had a regression (#1045); a grouped PNG sequence
going through the same path — interpret a fresh placeholder to Loop 15,
drag it onto the timeline — did not. The behaviour is already correct on
main (addItem sizes a sequence layer from looped_duration, the pool's
frame_index wraps per cycle), so this is coverage, not a change:
interpret_footage_loop_extends_sequence_layers asserts a 15-loop of a
0.4 s sequence lands a 6 s layer.
cargo test -p effectcraft-engine --lib interpret_footage: 4 passed.
With the comp's and the layer's motion-blur switches on, the renderer
hands effects the shutter (angle, phase, samples) — CC Particle World
now uses it: eight to sixty-four sprite fields sampled across the shutter
are averaged into the transfer, so fast particles draw the motion trails
After Effects shows instead of one sharp frozen field.
The GPU particle pass defers to the CPU while the shutter is open
(catalog::gpu_supported), keeping the oracle identical on both backends.
Tests: sim::particle_world_motion_blur_trails (blurred differs from
sharp, lights more pixels, keeps alpha energy) and a catalog assertion
for the CPU gate; effects 450 and gpu 212 lib tests pass; fmt and
clippy -D warnings clean.
On a selected layer's row, the Parent menu and pick whip and the Track
Matte menu now set every selected layer's parent or matte, as moving a
selected layer's bar moves them all; on an unselected row they set that
layer's alone. Each is one undo step. A selected layer chosen as the
parent or the matte is left out of the layers it links, and parenting
that would make a loop is refused as a whole.
A new matte layer keeps each layer's mode (layer.setTrackMatte with
kind: preserve); a mode and No Track Matte apply to all of them.
The Track Matte column gets a pick whip, like the parent's
(timeline.layer.<id>.trackMattePickWhip, with a translated tooltip):
dropped on an audio-video layer's row, it makes that layer the matte.
The layers a parent or matte pick whip links are taken when its drag
starts.
Tests (ui_batch_links): the Parent menu and pick whip, and the Track
Matte menu, mode, No Track Matte and pick whip, with real clicks and
drags: selected layers change together and unselected ones don't, modes
are kept, one undo puts links, compensated transforms and the matte's
visibility back, and a refused cycle changes nothing. Both fail on main.
layer.setTrackMatte took one layer. It now also takes `layers`, set in
one undo step; `layer` and the first selected layer still work as
before. `kind: "preserve"` keeps each layer's own matte mode (Alpha for
a layer without one), so giving several layers a new matte doesn't turn
a mix of Alpha and Luma mattes into one mode; without `kind` the mode
is Alpha, as before. A layer can't be its own matte and an empty list
is refused, before anything changes.
Test: several_layers_take_one_matte_and_keep_their_modes.
File > Dependencies > Find Missing Fonts listed a text layer whenever
its font matched no family name, while text layout finds a font by its
family, PostScript or full name (effectcraft_text::resolve). For a
layer set to the PostScript name Inter-Bold, EffectCraft draws the text
in Inter Bold, and text.fontFeatures reports the layer's font as not
missing. Find Missing Fonts listed that layer and a layer set to the
full name Inter SemiBold.
find_missing now lists a layer when effectcraft_text::resolve, which
text layout uses for each run, reports the layer's font as missing.
fonts_named_by_their_postscript_or_full_name_are_not_missing adds text
layers in Noto Serif, Inter-Bold, Inter SemiBold and a font that no face
has, and checks that Find Missing Fonts lists only the last one.
A Merge Paths item appended to a shape layer's Contents cleared every draw
collected so far, including fills and strokes inside groups above it, so
the layer's shapes vanished from the render. AE's rule is per group: only
paint items in the merge's own group above it are dropped. Draws now
record which contents level created them; the merge drops only its own
group's paint, and the group-bubbled draws keep rendering.
Adds a regression test (Merge Shapes and Add modes) that renders nothing
without the fix.
The pinning regression only exercised All Edges (and Left Edge in the CPU
unit test), so the reported 'does not work with Top/Bottom Edge' had no
coverage to catch or clear it. This holds the pinned first/last row in a
CPU test at Direction 90, and adds CPU/GPU parity cases for Top (4),
Bottom (6), diagonal directions, and single-edge pinning on shape layers.
CPU pinning verified correct on main: the guards in dst_wave_pin/wave_pin
agree; the gap was that neither edge path was tested.
Problem: on Windows two tests failed on main although the app is fine; they assumed
macOS/Linux path formats.
Fix: the CLI test strips the verbatim path prefix that canonicalize adds on Windows (a
child's current_dir() never reports it); the host sink test uses a drive-letter path on
Windows (a path rooted without a drive is joined to the home drive by the engine, the test
expected the current drive). Test code only.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Upstream's #1167 fix and this branch both stop marker edits from invalidating
cached frames. Kept this branch's shared Project::reads_markers/same_pixels_with/
pixel_form_with (viewer frames, disk cache, nested comps) and folded upstream's
rules into them: any expression counts as reading markers, protected time
markers with a duration still change the frames.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The startup hold waited for the current frame to be cached before
anything else, so a frame that can never be cached held the first frame
for ever: a zero RAM preview budget, or a single frame larger than the
budget (which the comp-size estimate misses for Extended Viewer frames).
It now gives up at once when the budget can't hold even one comp-sized
frame, and otherwise after STARTUP_WAIT (2 s from pressing play): the
sound starts from the first frame, and the preview goes on as a stalled
one does. frame_bytes() is factored out of frames_that_fit() for it.
Tests (ui_audio_scrub): with a budget of 0 or half a frame the sound
starts on the first step; with an Extended Viewer frame larger than the
whole budget (the estimate says one fits) the first frame holds for about
two seconds, then the sound starts. Both wait for ever on the previous
commit. The Extended Viewer setup is now shared by its two tests.
tylerjenningsw
ThemolxandClaude Opus 5.5
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vangel76andClaude Sonnet 5.5
Lloyd NicholsonandClaude Opus 5.5
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zitann2020andDeepSeek V4.1 Flash
Ian-ChegeandClaude Opus 5.5
MarekSpodBiedry
Vikram Bhaskaran
dotCooCoo
Jannik Wappler
arnav-hiwarkar
pravdomilandClaude Opus 5.5
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